This print, one of the earliest examples of conceptual printmaking, reflects Bruce Connerâ€™s somewhat strained fellowship at Tamarind. Its subject refers to Tamarindâ€™s editioning conventions, which insisted, among other stipulations, that once a stone had been cancelled, it could not be used to make any more impressions, and that each print had to be signed (Conner opted to use his thumbprint instead). When Conner wanted to edition a cancelled lithograph, Calvin Goodman, a business consultant who was overseeing the shop while June Wayne was abroad, stopped production. Goodman was clearly ill equipped to handle Connerâ€™s conceptual explorations, allegedly confronting the artist by exclaiming, â€śWhat is this crap youâ€™re trying to put over here?â€ť When Wayne returned, she was amused and respectful of the artistâ€™s boundary-pushing, and she immediately ordered production to continue.